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John Carter FSA (1748–1817): A New Corpus of Drawings, and the Painted Chamber 约翰·卡特FSA(1748-1817):一个新的语料库的图纸，和油漆室
Visual Culture in Britain Pub Date : 2023-01-13 DOI: 10.1080/14714787.2022.2094456
Peter N. Lindfield
{"title":"John Carter FSA (1748–1817): A New Corpus of Drawings, and the Painted Chamber","authors":"Peter N. Lindfield","doi":"10.1080/14714787.2022.2094456","DOIUrl":"https://doi.org/10.1080/14714787.2022.2094456","url":null,"abstract":"This essay examines a corpus of drawings at the Yale Center for British Art, New Haven, that I discovered and attributed to John Carter (1748–1817) in 2010. Of Carter’s seventy-five drawings in this collection that cover Westminster, four offer further detailed insights into the Painted Chamber’s wall paintings and tapestries c.1800. Annotated by Carter, these drawings can be read alongside his other earlier drawings of the Painted Chamber found today in the Victoria and Albert Museum, and the British Museum in London. Not only do these drawings record a precious moment in late-Georgian London where some of the most remarkable medieval wall decorations were uncovered, but they also contextualize Carter’s attitude to medieval architecture and their ‘improvement’ by his contemporaries.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Welcome to the North’: Public Art, Place-Marketing and the Northern Imaginary “欢迎来到北方”：公共艺术、场所营销与北方想象
Visual Culture in Britain Pub Date : 2022-12-28 DOI: 10.1080/14714787.2022.2094457
R. Farley
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引用次数: 0
‘Something useful in a National sense’: Percy Hennell’s Surgical and Nationalist Colour Photography, 1940–1948 “在国家意义上有用的东西”:珀西·亨内尔的外科和民族主义彩色摄影，1940-1948
Visual Culture in Britain Pub Date : 2022-11-08 DOI: 10.1080/14714787.2022.2094458
Christine Slobogin
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引用次数: 0
‘Respectable Exotics’: Exhibiting South Asian Modernists in Britain, 1958 and 2017 “值得尊敬的异国情调”:展出南亚现代主义在英国，1958年和2017年
Visual Culture in Britain Pub Date : 2020-09-01 DOI: 10.1080/14714787.2020.1852887
A. Correia
{"title":"‘Respectable Exotics’: Exhibiting South Asian Modernists in Britain, 1958 and 2017","authors":"A. Correia","doi":"10.1080/14714787.2020.1852887","DOIUrl":"https://doi.org/10.1080/14714787.2020.1852887","url":null,"abstract":"In 1958, Gallery One, London, staged an exhibition titled, ‘Seven Indian Painters in Europe’ featuring work by some of the most prestigious contemporary artists of South Asian origin. In 2017, the Whitworth Art Gallery revisited this earlier exhibition, staging ‘South Asian Modernists 1953–1963ʹ. Visiting this recent show prompted a reconsideration of the 1958 exhibition, its content and reception, and a reflection upon the ways in which South Asian artists exhibiting in London during the 1950s and ’60s have and have not been included within narratives of British art, then and now.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"310 - 329"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1852887","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44660266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Seeing-as’: The Modality of Looking in Bacon’s Portraiture “视为”：培根肖像画中的观看方式
Visual Culture in Britain Pub Date : 2020-09-01 DOI: 10.1080/14714787.2020.1860340
R. Arya
{"title":"‘Seeing-as’: The Modality of Looking in Bacon’s Portraiture","authors":"R. Arya","doi":"10.1080/14714787.2020.1860340","DOIUrl":"https://doi.org/10.1080/14714787.2020.1860340","url":null,"abstract":"This article examines Francis Bacon’s treatment of portraits of sitters who were close to him – a closeness that is seen in the intimacy of their portrayals. Bacon cut through the surface to capture the energy of a person. This study articulates Bacon’s pictorial problem by arguing for a particular way of ‘seeing-as’, to draw on Ludwig Wittgenstein’s philosophy, that involves the ‘noticing of an aspect’ or ‘dawning of an aspect’. Interpreting Bacon’s portraits by using Wittgenstein’s understanding of perceptual concepts and the phenomenological perspective of the immediacy of experience presents a novel way of looking at his work.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"296 - 309"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1860340","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42745476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contesting Women’s Right to Vote: Anti-Suffrage Postcards in Edwardian Britain 争取妇女选举权:爱德华七世时代英国的反选举权明信片
Visual Culture in Britain Pub Date : 2020-09-01 DOI: 10.1080/14714787.2020.1827971
L. O’Hagan
{"title":"Contesting Women’s Right to Vote: Anti-Suffrage Postcards in Edwardian Britain","authors":"L. O’Hagan","doi":"10.1080/14714787.2020.1827971","DOIUrl":"https://doi.org/10.1080/14714787.2020.1827971","url":null,"abstract":"This article uses multimodal critical discourse analysis to explore the messages promoted by anti-suffrage postcards produced in Britain between 1909 and 1914. It identifies five salient themes across the postcards (subversion of gender roles; physical ridicule of women; mental ridicule of women; violence towards women; and an imagined future), arguing that, despite their aim of presenting anti-suffragists as united in their objective of opposing women’s suffrage, they contained clear paradoxical messages. It concludes that the postcard campaign ultimately failed because of the power of militancy, mass opposition to the brutal treatment of suffragettes, and the outbreak of the First World War.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"330 - 362"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1827971","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41651098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
The Artist, the Advertiser, the Public: The Great Western Railway Poster as Collaborative Design 艺术家、广告商、公众：大西部铁路海报的协同设计
Visual Culture in Britain Pub Date : 2020-09-01 DOI: 10.1080/14714787.2020.1852886
R. Savage
{"title":"The Artist, the Advertiser, the Public: The Great Western Railway Poster as Collaborative Design","authors":"R. Savage","doi":"10.1080/14714787.2020.1852886","DOIUrl":"https://doi.org/10.1080/14714787.2020.1852886","url":null,"abstract":"Between 1923 and 1939 the Great Western Railway (GWR) company produced over a hundred lithographic posters which advertised its services to the West Country. Despite their popularity during the period, these posters have been criticized by poster art scholars who consider them old-fashioned in comparison with modernist poster designs. This article aims to reconsider this dismissal by identifying the complex network of agents involved in GWR poster production and by examining the aesthetic, social and economic values the resulting posters were intended to extol.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"363 - 384"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1852886","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46891559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Queer Juxtapositions in the Art of Francis Bacon and Lilliput Magazine 弗朗西斯·培根与《利力浦特》杂志艺术中的异类并列
Visual Culture in Britain Pub Date : 2020-09-01 DOI: 10.1080/14714787.2020.1822755
D. Janes
{"title":"Queer Juxtapositions in the Art of Francis Bacon and Lilliput Magazine","authors":"D. Janes","doi":"10.1080/14714787.2020.1822755","DOIUrl":"https://doi.org/10.1080/14714787.2020.1822755","url":null,"abstract":"Francis Bacon made extensive use of photographs and other images from the visual culture of his time in the production of works that were implicitly queer. Homosexual men were widely represented in prose and through cartoons as camply effeminate ‘pansies’. In the magazine Lilliput, by contrast, photographic spreads produced juxtapositions that evoked a range of responses to same-sex attraction from erotic engagement to nervous rejection. Studying the ways in which this and other magazines engaged with queer culture enables us to reassess the painter’s use of juxtaposed visual forms as acts of sexualized self-expression.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"275 - 295"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1822755","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44795985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Making of Modern Art through Commercial Art Galleries in 1930s London: The London Gallery (1936 to 1950) 20世纪30年代伦敦商业画廊中的现代艺术创作:伦敦画廊(1936 - 1950)
Visual Culture in Britain Pub Date : 2020-05-03 DOI: 10.1080/14714787.2020.1738265
Jutta Vinzent
{"title":"The Making of Modern Art through Commercial Art Galleries in 1930s London: The London Gallery (1936 to 1950)","authors":"Jutta Vinzent","doi":"10.1080/14714787.2020.1738265","DOIUrl":"https://doi.org/10.1080/14714787.2020.1738265","url":null,"abstract":"This article explores the London Gallery as a disseminator of modern art. So far, the London Gallery has been considered as a gallery for surrealism only, as its longest-serving director, E.L.T. Mesens, promoted surrealism all his life (1903–1971). By considering particularly its early exhibition history and activities in the 1930s, this article will show first that the London Gallery supported any avant-garde art contemporary to its showing, and second that commercial art galleries were the driving force behind the dissemination of modern art in London, using a number of marketing strategies that also included a claim to education.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"145 - 176"},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1738265","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47134210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Picturing Resistance and Resilience: South Asian Identities in the Work of Chila Kumari Burman 描绘抵抗与韧性:奇拉·库马里·布尔曼作品中的南亚身份
Visual Culture in Britain Pub Date : 2020-05-03 DOI: 10.1080/14714787.2020.1760128
A. Correia
{"title":"Picturing Resistance and Resilience: South Asian Identities in the Work of Chila Kumari Burman","authors":"A. Correia","doi":"10.1080/14714787.2020.1760128","DOIUrl":"https://doi.org/10.1080/14714787.2020.1760128","url":null,"abstract":"The issues of migration and the allocation of passports is a contentious issue in twenty-first-century Britain. This paper offers a timely assessment of Chila Kumari Burman’s diptych, Convenience, Not Love, 1986–7, which uses the passport motif to present a scathing indictment of British immigration policy in the post-1945 era, which champions the resilience of the British South Asian diaspora in the face of persistent racial discrimination. Taking issue with the stereotype of South Asian women as ‘meek and passive victims’, the paper concludes with a discussion of Burman’s self-portraits from the 1990s, proposing them as ‘radically narcissistic’.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"21 1","pages":"199 - 226"},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2020.1760128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41559448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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